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      What’s on TV This Week: ‘The Golden Bachelor’ and ‘The Irrational’

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      A spinoff of the popular dating show joins the ABC franchise. And NBC premieres a new crime procedural show.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Sept. 25-Oct. 1. Details and times are subject to change.MondayTHE VOICE 8 p.m. on NBC. Niall Horan, John Legend and Gwen Stefani are welcoming another a new judge to join them in their red swivel chairs: the country-music star Reba McEntire. Per usual, the season will begin with blind auditions.BELOW DECK MEDITERRANEAN 9 p.m. on Bravo. You all thought I was done talking about the Below Deck franchise? Nope! Captain Sandy Yawn will be back at the helm of this show and also a new boat. Some familiar cast returns (including the deckhand Luka Brunton, who was on TV screens just last week as the crew said goodbye to each other on “Below Deck Down Under.”) and we’ll also get to know a new bosun, chef and a stew. If you want to make the show more enjoyable, take a drink every time Sandy micromanages or mentions the infamous slide.Jesse L. Martin plays the professor Alec Mercer on “The Irrational.”Sergei Bachlakov/NBCTHE IRRATIONAL 10 p.m. on NBC. Apparently 2023 is the year that cable TV is bringing back the art of the crime procedural a la “Law & Order: Special Victims Unit” or “Criminal Minds.” This new series follows the behavioral science professor Alec Mercer (Jesse L. Martin) as he uses his expertise on psychology and body language to solve high-stakes crimes.TuesdayDANCING WITH THE STARS 8 p.m. on ABC. Though this is the 32nd season of this show, things are feeling new: There is a new host (Julianne Hough joins Alfonso Ribeiro), a new pro dancer (Rylee Arnold) and, of course, new celebrity contestants. This season is a little trickier than others because of the ongoing Hollywood strikes. A writer on staff is a member of the Writers Guild of America, for instance, and many of the contestants are members of SAG-AFTRA union, which represents TV and movie actors. Though it makes things a little more complicated, “DWTS” also continued amid the 2007-8 writers’ strike.SAVIOR COMPLEX 9 p.m. on HBO. In 2010, Renee Bach, an evangelical missionary from the United States, went to Uganda to set up a charity hospital. She was 20 years old and didn’t have a medical degree. In five years, Bach said that her hospital took in 940 children — and 105 of them died. In 2020, she settled a lawsuit after two mothers of children who had died in her care sued. This three-part documentary examines the lead-up and the aftermath.WednesdaySURVIVOR 8 p.m. on CBS. This season’s castaways are headed to Fiji and are going to be divided up into three tribes of six people. The man we all know and love, Jeff Probst, will be back to host as the season gets underway with a new 90-minute episode.ThursdayTHE GOLDEN BACHELOR 8 p.m. on ABC. The host, Jesse Palmer, is working overtime to get his check this month with two new “Bachelor” franchise shows premiering back to back. First up, we have the new series with the 72-year-old bachelor from Indiana, Gerry Turner, and the women vying for his heart. Since Instagram and influencing isn’t as much the rage with Boomers and Gen Xers, we will hopefully have less of the “here for the right reasons” conversations. Although, my grandfather loved scrolling TikTok, so who really knows?Rachel Recchia and Jesse Palmer on “Bachelor in Paradise.”ABC/Craig SjodinBACHELOR IN PARADISE 9 p.m. on ABC. Jesse Palmer travels to Mexico for the new season of “Paradise.” We know the drill by now: singles who have previously been on “The Bachelor” or “The Bachelorette” head down to Puerto Vallarta with the hope of another chance at love.FridayTHE NEW YORK TIMES PRESENTS: HOW TO FIX A PAGEANT 10 p.m. on FX. The third season of this stand-alone documentary series begins with a look into the world of pageants. Crystle Stewart, a beauty pageant titleholder, became the president of the Miss USA organization in 2020. Three years later, she left the role. This episode features an interview with Stewart after her departure.SaturdayLeonardo DiCaprio in “The Wolf of Wall Street.”Mary Cybulski/Paramount PicturesTHE WOLF OF WALL STREET (2013) 9:30 p.m. on IFC. Jordan Belfort, a corrupt stock trader played by Leonardo DiCaprio, becomes simultaneously lauded and reviled onscreen in this movie about greed directed by Martin Scorsese. What makes the movie “a vital and troubling document of the present is not so much Jordan’s business plan — he tells us repeatedly that it’s too complicated and boring to explain — as his approach to life,” A.O. Scott wrote in his review for The Times.SundayFAMILY GUY 9:30 p.m. on Fox. This beloved and long-running adult cartoon is back for its 22nd season and things are starting out with … an accidental baby? Meg agrees to be a surrogate, but when the couple never comes to pick up their baby, the Griffins must welcome another family member. More

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      On ‘Golden Bachelor,’ Looking for Love and a Pickleball Partner

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      The latest “Bachelor” spinoff stars singles who are 60 and older, a largely ignored demographic in the ever-growing world of dating shows.Drivers in Los Angeles heading north on La Cienega Boulevard these days might notice a bronzed gentleman smiling down at them from billboards poised on either side of the street.He is Gerry Turner, an Indiana retiree who used to work in the food distribution industry. But as one of the billboards explains, those were not the qualifications that led to his becoming the star of the newest “Bachelor” spinoff.“He’s hot. He’s sexy. He’s 72.”The appraisal was taken from a recent headline about Turner, who as the first “Golden Bachelor” is the center of a new spin on the franchise that features singles 60 and older.“This is certainly the first time in a ‘Bachelor’ campaign that we used a quote from AARP in our billboards,” said Shannon Ryan, who oversees the show’s marketing.That “The Bachelor” is trying a slight variation on a tested formula is no revelation. The show’s myriad spinoffs have included “The Bachelorette,” “Bachelor in Paradise,” “The Bachelor” in Canada, “The Bachelor” in wintry weather, “The Bachelor” with a cash prize, and “The Bachelor” featuring people who work in the music industry.But in all of those variations on the theme, most of the eligible singles have been young, fresh-faced 20- or 30-somethings looking to marry for the first time. In “The Golden Bachelor,” which premieres on Thursday, the nearly two dozen women vying for Turner’s attention are between 60 and 75 and include divorcées, widows, mothers and grandmothers.Sitting in the show’s Mediterranean-style mansion in Agoura Hills, Calif., last month, a few hours before an evening of filming began, Bennett Graebner, one of the showrunners, recalled the new cast’s giddy introduction to the lavish home, with its infinity pool and Jacuzzis that look out onto the tree-dotted hills.At first, he said, the contestants’ reactions were similar to the ones he has seen over his 15 years as a producer for “The Bachelor.”“They ran around and looked at their bedrooms and yelled off the balcony, and we said, ‘OK, this feels like “The Bachelor,”’” Graebner said. “And they came down to the kitchen and had mimosas and they were doing toasts, and we said, ‘OK, this feels like “The Bachelor.”’”“And then,” he went on, “one woman said, ‘Let’s toast to Social Security!’”He hadn’t heard that one before.With “The Golden Bachelor,” ABC is recognizing that a core segment of its audience — the network’s median viewer age is 64 — has thus far been largely ignored in the ever-growing array of dating shows. (The median age drops to 42 for ABC shows streaming on Hulu.)In recent years, some programs have experimented with older participants, though not on this level and not with much success.In Netflix’s “Dating Around,” Leonard, a 70-year-old private investigator, became a fan favorite.NetflixIn “Dating Around,” Netflix’s first original dating series, which had its debut the year before “Love Is Blind” became a global phenomenon, the fan favorite was Leonard, a 70-year-old private investigator. On his dinner dates, he reminisced about doing LSD in his younger years and danced the Lindy Hop with one woman on the sidewalk.Last year, executive producers behind the popular dating show “Love Island” introduced a new show called “My Mom, Your Dad” on HBO Max, in which college-age adults watched their parents dating each other from a secret viewing room. The show didn’t last long, but an adaptation in Britain called “My Mum, Your Dad” just had its finale.And then there’s “MILF Manor” on TLC, in which eight mothers in their 40s, 50s and 60s found themselves at a Mexican hotel in a dating pool that consisted of their adult sons.Howard Lee, the president of TLC, said that “MILF Manor” intrigued the network because of its age bracket, which stuck out from the deluge of dating show pitches he gets featuring people in their 20s and 30s.“For the first time, this was a series that didn’t go in that direction,” he said. “MILF Manor” had a viral moment on social media — partly driven by its similarity to a “30 Rock” gag — but it is not yet clear whether it will get a second season.With “The Golden Bachelor,” in which the participants are as young as 60, the idea is getting its tryout in an altogether different league. After more than two decades, “The Bachelor” franchise remains a reality juggernaut, and “The Golden Bachelor” will be one of ABC’s biggest releases this fall, in part because of the network’s narrowed list of offerings during the Hollywood writers’ and actors’ strikes.If “The Golden Bachelor” succeeds, expect more opportunities to arise for senior singles to look for love on television.The showrunners said a broader cultural shift toward embracing, rather than hiding, aging helped pave the way for this show.“Martha Stewart is on the cover of Sports Illustrated at 80 or so years old,” said Jason Ehrlich, one of three “Golden Bachelor” showrunners. “John Stamos was posting photos of himself in the shower nude for his 60th birthday. There seems to be a moment where there’s an appetite for this.”“Bachelor” producers have been talking about a show like this for about a decade. Their efforts to make it a reality started in earnest in 2019, and they began circulating ads to recruit “seniors looking for love” in 2020. But Covid-19 put the idea on hold. (“This is not the show to make in the middle of a pandemic,” Graebner said.)In “My Mom, Your Dad,” college-age adults watched from a secret viewing room as their parents go on dates with one another.MaxWhen the producers returned to the concept earlier this year, they rediscovered Turner’s audition tape. In it he explains that he is ready to find another partner after losing his wife of 43 years, whom he met in high school, to a sudden infection.In an interview, Turner, a father and grandfather, said he is “very, very grateful, not just for myself but for people my age, that this show has been developed and it has come to reality.”The women of “The Golden Bachelor” brought into the mansion a certain self-assured humor that comes with age, the show’s producers said. For example, the cast debated for days whether it was Susan’s meatballs or Edith’s guacamole that gave the house gas. And in Thursday’s premiere episode, when one of the women steps out of the limousine and greets Turner she opens with one thing they both have in common: hearing aids.The women’s fun facts include that Christina’s first concert was the Beatles in 1964 and that Kathy is “OBSESSED” with Christmas. Several of the participants, including Turner, share an enthusiasm for pickleball. And some of the women also have long careers behind them; Marina, 60, has three master’s degrees.“When we cast for the other shows, some of the younger kids come to us and they have a feeling that they need to present a version of themselves that we want to see,” said Claire Freeland, the third “Golden Bachelor” showrunner. “These women were just themselves from the jump.”When dating shows have included older people in the past, it has often been as a kind of gimmick. The original “Dating Game,” which premiered in 1965, once brought on Kathryn Minner, an actress who was known for playing the “little old lady” characters on TV, movies and, most famously, in an ad campaign for Dodge vehicles.“The Bachelor” has always been fond of puns and stunts, and the golden edition is likely to have plenty of age-related bits. In the mansion, there is a supply of Werther’s Originals — just like in your grandmother’s living room — and the show’s promo introducing the female contestants includes footage of a woman cleaning her glasses and another slipping on pantyhose, to the tune of “Believe” by Cher.But the producers have tried to let the age-related humor be driven by the participants themselves.“We’re never laughing at them, but we are certainly laughing with them,” Ehrlich said. He said he studied the sitcom “The Golden Girls” to find interesting conversation topics to pull out if things get dull.The showrunners insist that this is not just a show for the older viewers of “The Bachelor,” about 43 percent of whom are 55 and older, according to a 2020 YouGov poll.They think “The Golden Bachelor” has the potential to bring generations together to watch a more-wholesome version of the franchise. They also hope that a different kind of cast can entice lapsed “Bachelor” fans back into the fold and bring in new audiences who might have turned their noses up at the brand before now.The ads, for example, won’t have the typical reality show snippets of screaming-and-crying dramatics, opting instead for more uplifting messaging, said Ryan, the president of marketing for Disney Entertainment Television, which includes ABC.Even Eileen Zurbriggen, a feminist social psychologist who has argued in her research that dating TV shows like “The Bachelor” are actively harming young viewers’ capacity to start healthy relationships, in part by strengthening the perception of dating as a kind of game, said she saw potential for the show to work against gender clichés.“It is refreshing, in a culture that is still so youth obsessed, to see older women presented as interested in sex and still sexually desirable,” Zurbriggen said.April Jayne, who appeared on the dating show “MILF Manor,” said a cultural shift around aging has allowed her to embrace being 61 in her career rather than hide it.TLCApril Jayne, an actress, singer and fitness trainer who was one of the contestants on “MILF Manor,” said she spent much of her acting career hiding her age. Now at 61, she is seeing more work opportunities than ever before since her reality TV appearance.“Once you hit middle age, it does not mean you’re washed up,” Jayne said, though she noted that the 40-year age gap between her and the young man she was dating on the show was perhaps a bit too large.By the way, she added, if ABC happens to be casting for a “Golden Bachelorette,” she is interested and available.Callie Holtermann contributed reporting. More

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      ‘Billions’ Season 7, Episode 7 Recap: The Way of the Ocean

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      Philip gets a hard lesson from the coldblooded sharks around him about the laws of nature.Season 7, Episode 7: ‘DMV’Well, that was a nasty bit of business.One of the best episodes of “Billions” in recent memory, “DMV” — named after the government agency turned into an unlikely bed of low-stakes graft and influence-peddling by the Rhoades family — shows the depths to which many of the show’s leading players will sink to get what they want. Even if their desires are relatively high-minded, the depths remain the same.Philip gets a turn in the spotlight this week when he reels in Prince Cap’s latest whale: bioengineered, self-repairing concrete, invented by one of his mentors in college, Dr. Mike Rulov (Timothy Busfield). Thrilled by the benefits such a material would present for America’s crumbling infrastructure, to say nothing of how rich it would make them all, Philip pitches the idea to Prince, who loves it.A little too much, unfortunately. It’s such a great invention, with such potential for positive change in the world, that Mike insists on owning it lock, stock and barrel. If Rulov demurs, Prince is prepared to snap up related projects and sue Rulov for infringement, a practice called “patent sharking.”Though stunned at Prince’s “blitzkrieg” tactics, Philip tries to play good cop. With the legal and financial resources of one of the smaller G7 nations, Prince would make the new concrete a bigger deal than Rulov could, even with his own high-rollers backing him. But there was clearly no chance of such a sale, even before Prince started making veiled threats. Rulov is simply not the kind of person willing to sell off something into which he has poured so much of himself.When Philip dutifully relays this information to Prince, it only provides the billionaire with more ammo. If Rulov cares about the concrete so much, Prince reasons, then tying it up in litigation for years will force him to sell because of his simple but irresistible desire to see his creation out in the world. Not that Mike is in any hurry for that to happen, even if he wins the fight: At the suggestion of the increasingly sinister Kate Sacker, he considers keeping the technology under wraps until he can roll it out as part of his 2028 re-election campaign. Such is the transactional nature of Mike’s do-gooding at this point.Desperate, Philip turns to Wendy — not for her advice, although that’s the front he puts up, but rather for her connection to Chuck. He knows that if he tells her the whole story, she will reach out to her ex, who will see an opportunity to stick it to Prince.But Philip’s hope that Chuck can shut down the entire patent-sharking sector is a pipe dream. All Chuck can do is have a friend at the Defense Department classify the patent as a matter of national security, seize Rulov’s efforts, and prevent either man from being the sole controller of such an important invention. Of course, the government will most likely sit on it forever, benefiting no one. But if that’s what it takes to stop Prince from getting his hands on this potential game-changer, so be it.Even after this debacle, Philip still wants nothing to do with the plot against Prince, the existence of which Wendy intimates to him after many a knowing glance between herself and Taylor. Philip storms out of her office, all but yelling, “Deniability! Deniability!” with his fingers in his ears.Two parallel story lines echo these abuses of power. In one, Charles Sr. and his grandson, Kevin, are arrested when Charles attempts to bribe a Department of Motor Vehicles employee (Patrick Fischler) into giving Kevin a passing grade on his driver’s test. Chuck throws his weight around, cuts a sweetheart deal with the district attorney, lands the outraged DMV employee a promotion and joins Wendy at Kevin’s next test in his father’s place. Everyone wins, except anyone who thinks we’re all equal in the eyes of the law.Meanwhile, after the disastrous “truth-telling sessions” that saw the Prince Cap foot soldiers tear their boss to shreds, they express discomfort with the idea of Mike conducting the annual performance reviews. But it doesn’t stop there. Banding together, they elect Victor and Rian to tell the committee Mike assembles to take his place — Wags, Scooter, Taylor and Philip — that they reject the committee’s authority to conduct the reviews. They pitch postponing them for a year and detaching their annual comp from the review process in the meantime. Mike caves and even throws them a gala casino night as a morale-building exercise.Or so it seems. In reality, he and Scooter have colluded to have the whole evening recorded, employing the real-life poker ace Vanessa Selbst to analyze their behavior and risk patterns — a performance review without the consent of the performers. Judging from Victor’s and Rian’s reactions, this has exactly the effect on morale you would expect it to.But here’s the thing, as Chuck explains to Philip: In this world, there are harbor seals, like Rulov, and there are sharks, like Prince. Whether it’s running a promising start-up out of business in order to seize it for himself, or making an end-run around his staff’s expressed desires just because he can, Prince will go in for the kill. “Sharks will shark,” Chuck says ruefully. “Harbor seals will harbor seal. That is the way of the ocean.” At this point, everyone’s out in the deep water, watching President Prince’s dorsal fin get closer and closer.Loose changeCharles Sr. gets the biggest laugh lines of the night, twice over. First there’s the precise way he chooses to express his righteous indignation upon being arrested: “This is ridiculous! I was social friends with Robert Moses!” (Charles either doesn’t know or doesn’t care that Moses’s reputational stock has somewhat fallen since their last soirée.)Then there’s the deft way Charles gets Chuck to focus on his own parental neglect in failing to take Kevin to the test — rather than on Charles’s own literally criminal behavior. “Who’s the [expletive] now?” he asks before repeating it more slowly for emphasis: “Who’s … the [expletive] … now?” Chuck’s teary-eyed failure to recognize just how ridiculous this is shows how effective a manipulator Charles remains.What a delight to see Fischler, an actor who in years past cemented his status as one of the screen’s most memorable actors in the space of just two scenes. “Mad Men” viewers will recall his turn as the insult comic Jimmy Barrett, whose dressing down of Don Draper for sleeping with his wife — “You’re garbage, and you know it” — all but flays off the ad man’s skin. Meanwhile, David Lynch fans, or anyone familiar with a “scariest scenes of all time” listicle, know him as the man from the “Winkie’s dream” sequence in “Mulholland Drive,” in which his portrayal of a man facing his worst nightmare is as convincing as it is unnerving.Which members of the Prince Cap Movie Night crew understand that “The Wolf of Wall Street” is intended as a cautionary tale rather than a how-to manual? According to Wags, they are Kate, Victor, and Rian — not that it has stopped any of the three from acting rather wolfish.It’s fun to see the folks on the floor form a sort of pop-up union to collectively fight against the performance reviews. The “Hot Labor Summer” continues, even in “Billions”-land.Normally I’d come down pretty hard on a needle drop as narratively obvious as playing R.E.M.’s “Drive” after a kid passes his driving test, but I’m choosing to believe the song was chosen not for its title but for its somber tone, reflective of the mood of the rest of the episode. Otherwise, “I Can’t Drive 55” by Sammy Hagar was sitting right there. More

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      ‘Sex Education’ Is Back. Here’s What You Need to Know.

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      The raunchy British teen dramedy has been away for two years. Here’s a refresher for the Netflix series’s fourth and final season.School is back in session for the sweet, sometimes absurd British comedy “Sex Education,” which leans heavily into its streaming-series freedom to portray adolescent sex for what it generally is: awkward, mediocre, part of life. Expect close-ups of patchy pubic hair, belly rolls and many (many) penises — among other physical realities of sex that don’t typically appear in teen stories.The show, which won the award for best comedy series at the International Emmy Awards in 2022, centers on Otis (Asa Butterfield), the erudite but romantically floundering son of a sex therapist (Gillian Anderson), who finds that he, too, has a gift for doling out intimate advice — in his case, to his desperately uninformed classmates. Unlike other raunchy teen dramas, like the provocative “Skins” and “Euphoria,” “Sex Education” takes a normalizing, endearingly un-edgy and even occasionally musical approach to the birds and the bees (though the writers would probably choose a more clinical term).In the fourth and final season, now streaming on Netflix, Otis must navigate a new school alongside his effervescent best friend, Eric (Ncuti Gatwa). After the closure of Moordale Secondary School at the end of Season 3, they now face a social hurdle more daunting than trying to become popular: survival as the new kids.But if popularity at Moordale was all about status and appearance, the new school represents something of an alternative educational universe, where learning is student-led, sustainability is cool and gossip is frowned upon.Will Otis and Eric fit in? Will Otis set up a new sex therapy clinic? And where is his broody, wryly sharp love interest Maeve Wiley (Emma Mackey)?Two years have passed since the release of Season 3. Here’s a refresher — a little gossip, if you will — as we head into Season 4.What happened to Moordale?After a schoolwide sexually transmitted infection outbreak in Season 2 and an obscene, intergalactic production of “Romeo and Juliet: The Musical,” Moordale Secondary School attracted news attention for its debauchery and earned the nickname “Sex School.” The administration hired a new head teacher, Hope Haddon (Jemima Kirke), to turn things around, but her shame-based approach to discipline and strict dress code couldn’t keep the students from being sexually curious teenagers.As revenge, the student body revolted at a public assembly for Moordale’s investors and the news media, disrupting the program with a screening of a sex-positive student film in which they dressed in genitalia-inspired costumes. Then the audience chanted, “We are Sex School,” and the band performed an explicit song.It was chaotic and symphonic, and it was enough of a ruckus to scare off investors and prospective paying parents. Moordale’s funding was withdrawn, and it closed its doors, forcing its students to find new schools.Where is Maeve?In Season 3, one of the English teachers at Moordale, Ms. Sands (Rakhee Thakrar), gave Maeve, Otis’s crush and sex clinic business partner, a brochure for a gifted and talented program in the United States. Throughout the season, Maeve wavered back and forth on the decision, concerned about the money and leaving her little sister behind.Otis and Maeve’s will-they-won’t-they relationship got some resolution when they finally kissed on a class trip to France. But in the final scene of the season, we learned that Maeve was leaving to study literature at a prestigious American university.The news came as a blow to Otis, who was happy for Maeve’s dream opportunity but devastated to see her go. Maeve promised that her departure didn’t mean that they were over, but she didn’t define the relationship further.Gillian Anderson in the Season 4 premiere of “Sex Education.”Thomas Wood/NetflixIs Jean … OK?Yes … and no. At the end of Season 3 Otis’s mother, Jean, went into labor with dire complications, including hemorrhaging. But she pulled through, and in the season finale, she delivered a healthy baby girl whom she named Joy. Although the pregnancy had a happy ending, the future of the family is a bit fuzzier. In one of the final scenes of the finale, Jean opened a paternity test and her shock revealed that her partner, Jakob (Mikael Persbrandt), might not be the father.Throughout the pregnancy, Jean and Jakob were committed to raising their baby together and forging a robust, if a bit untraditional, family unit with Otis and Ola (Patricia Allison), Jakob’s daughter (who, in a messy set of circumstances, used to date Otis).Will Jean, a careerist rising in her field, continue her sex therapy practice? Will Jakob remain in the picture? And if he isn’t the father, who is?Where do things stand with Eric and Adam?Eric, who is gay and proudly wears eyeliner, colorful nail polish and silky scarves, has had an emotional roller coaster of a relationship with Adam (Connor Swindells), a closeted bully who is new to intimate relationships. They grew closer as Adam learned to accept his sexuality, but Eric struggled to be with someone who couldn’t fully open up, and he eventually kissed another boy on a family trip to Nigeria.Adam eventually forgave the infidelity, but Eric realized he had outgrown the relationship and broke up with him anyway. Heartbroken, Adam began to come to terms with his identity; in the finale, he came out as bisexual to his mother, finally admitting to her that Eric had been his boyfriend. This could be a turning point for the animal-loving gentle giant who always feels like a misfit.Is there still a wide array of experience in Season 4?Somehow the show’s lens has gotten even wider. “Sex Education” is known for its nuanced depictions of gender, sexuality and disability, and for presenting forms of intimacy that are rarely displayed on mainstream television. A progressive new school promises an even more varied student body, with types of relationships not explored in previous seasons. Whether the school lives up to its “good vibes only” reputation remains to be seen.The show celebrates the body — its limitations, its potential, its drive — in its many forms. Whatever Season 4 may bring, it is sure to explore a wide range of teenage lust and physical complexities. More

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      Lying in Comedy Isn’t Always Wrong, but Hasan Minhaj Crossed a Line

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      The stand-up’s penchant for making up stories goes beyond embellishment. When real people and real stakes are involved, a different standard applies.When I first heard that The New Yorker had published an exposé on the veracity of the stand-up comedy of Hasan Minhaj, I rolled my eyes.We’re fact-checking jokes now? Come on. Comedy is an art, not an op-ed. And honesty has always struck me as the most overrated virtue in comedy. But Clare Malone’s reporting in the piece is scrupulous and fair, if a little prosecutorial in its focus. It presents more questions than answers and should inspire some rethinking of the muddy relationship between comedy and truth.Digging into his last two specials, Malone reveals Hasan Minhaj as a comic who leans on fictions to make real-world arguments, putting himself closer to the center of news stories to make him seem more brave or wronged or in danger. To take one example, Minhaj says in “The King’s Jester” (2022) that after the government passed the Patriot Act in the wake of Sept. 11, an undercover F.B.I. informant named Brother Eric had infiltrated his childhood mosque and had dinner at his house. Minhaj recalls how he sniffed him out and, in a prank, asked about getting a pilot’s license, which led to a police officer throwing him against a car.The New Yorker found that there was such a man working in counterterrorism but that Minhaj never met him. Minhaj defended his fabrications as fibs in service to “emotional truth.” For someone in the running to be the next host of “The Daily Show,” that term sounds a little too much like Kellyanne Conway’s euphemism “alternative facts.”Amid plenty of critics online, Whoopi Goldberg was one of the few major figures who spoke up for Minhaj, saying on “The View” that embellishing in the name of a larger truth is what comics do. But here is where some more context would be helpful.Stand-up comedy was never expected to be factually accurate. Rodney Dangerfield, to be clear, got respect. In the setups for early jokes, Richard Pryor lied about having a Puerto Rican mother and living in a Jewish tenement. An old-school observational comic like Jerry Seinfeld has said all his comedy is made up, even his opinions.But in the past few decades, with the rise of “The Daily Show,” which has blurred lines between comedy and the news, as well as the proliferation of confessional solo shows that depend on dramatic revelations that dovetail nicely with jokes, the form has evolved and so have audiences’ assumptions. And they vary wildly depending on the artist.In Sebastian Maniscalco’s last special, “Is It Me?,” he told a story poking fun at a kid in his child’s class who identifies as a lion. Asked by The Daily Beast, he said that this wasn’t true, but that he used it because it puts “a mirror on society” — another kind of emotional truth. Minhaj’s inventions were part of the same tradition, one that deserves new scrutiny.Minhaj in “The King’s Jester.” Comics from Richard Pryor to Jerry Seinfeld to Sebastian Maniscalco have all invented details for their acts.Clifton Prescod/NetflixIt’s also important to point out that many current comics think seriously about their fictions, setting their own code. “I am quite strict about telling the truth,” Daniel Kitson once told me. “I am interested in engaging emotionally and I don’t want to be duplicitous.”In an interview with Taylor Tomlinson this year, she told me she cut a joke about being single after she started dating someone because even that minor white lie made her uncomfortable. Many other comics, like Kate Berlant, build unreliability into their acts. Others lie so overtly that it sets expectations. What’s tricky is that there is no one industry standard.The reality is that some comics have more leeway toying with the truth than others. All artists teach their audience how to view them, by the way they tell jokes, their style, the level of absurdity. What makes Hasan Minhaj such a troubling example is that his style, onstage and often off in interviews, suggested we should believe him.Minhaj is known for using visual aids the way a journalist would. He mixes clips of television news and photos from his life with a general tone of sincerity. The nature of his deceptions were peculiar. He didn’t invent stuff to make himself funnier. He did it to raise the stakes in the easiest, most self-regarding way possible. Lying in comedy isn’t necessarily wrong. But how you lie matters. Minhaj has told a story about his prom date reneging on the day of the dance because her parents didn’t want her seen in photos with a “brown boy.” He now admits to some untruths in this story, but not all, and left her perspective out. (The woman has said she and her family faced online threats for years.) This genre of fiction is a shortcut to sympathy, an unearned tug at the heartstrings. It’s not a capital crime, but it’s an unnecessary and risky one.Lies involving real people should add a new sense of obligation. The problem with only considering the standard of emotional truth is that it can blind you to the impact on the actual world outside your emotions. You could say that the emotional truth behind the Patriot Act was that the terrorism of Sept. 11 required extreme tactics to feel safe, but that doesn’t make the legislation right. The truth is usually more complex than the way you feel about it.Watching “The King’s Jester” now hits differently. In some ways, it’s more interesting than the first time I saw it, when it seemed mawkish. Some jokes, like his desperation for social media clout, seem like clues. And others come across as the work of a guilty conscience, like the moment when Minhaj faces the audience and says: “Everything here is built on trust.”This is the truth. Every comic has an unspoken pact with the audience. The one Seinfeld has is different from Minhaj’s, and part of the reason has nothing to do with their intentions. Whether or not critics like me think authenticity is important, it does matter to the audience. So does honesty. And comics understand that. It’s no accident that many of the political comedians working today, especially on television, employ researchers from traditional news sources. Getting facts right matters, especially when the comedy is about grave social issues.That’s not just because a comic’s credibility can take a hit. When stories told about racism, religious profiling or transgender identity are exposed as inventions, that can lead to doubt about the experiences of real people.Minhaj subbing in as a host on “The Daily Show.” Every comic has an unspoken pact with the audience.Matt Wilson/Comedy Central’s The Daily ShowWhen the storyteller Mike Daisey, making an argument about factory conditions in China, said he visited a sweatshop even though he hadn’t, the official newspaper of the Chinese Communist Party used the resulting scandal to try to discredit all reporting by Western media. This kind of argument has only become more common. Look at Russell Brand’s defense against accusations of rape and grooming: He tried to discredit his accusers by saying you can’t trust the mainstream media.One of the most notable aspects of the Minhaj story is the lack of nuance in his response, the complete confidence he projects. It’s striking that he seemingly has no concerns about possibly deceiving some of his audience. His special is about his wife challenging him to take responsibility for how his words can negatively affect his family. One wonders if there will be any more introspection.In the summer, Minhaj interviewed President Barack Obama and began by bringing up his annual best-of lists, skeptically asking if he really consumes all of those books, albums and movies. When Obama said he did, Minhaj pushed back: “No, you didn’t.”Later on his podcast “Working It Out,” Mike Birbiglia asked Minhaj how he could be so bold with the ex-president. Minhaj said his question for Obama was “innocuous.” That seems like naïveté masquerading as savvy.If Obama admitted to lying about even something that inconsequential, it would be a global story. We live in a world where people have long peddled conspiracies about him and would jump on any deception as evidence of some broader scandal. There’s a temptation to respond to the onslaught of lies by thinking that the only way to fight back is to lie some more. But that has it wrong. To quote Minhaj, everything is built on trust.That trust operates differently for politicians and journalists than for artists, but it matters for us all. Treat it carelessly and the price can be steep. More

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      Don’t Stop Believin’? Considering a TV Golden Age, 10 Years Later

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      “Difficult Men,” Brett Martin’s book about the prestige TV boom, has been rereleased in a 10th-anniversary edition. In an interview, he reflects on how TV has changed since he wrote it.Tony Soprano, Don Draper and Omar Little glower from the cover of “Difficult Men: Behind the Scenes of a Creative Revolution,” Brett Martin’s canon-codifying 2013 book about the prestige TV boom of the 2000s. But as difficult and revolutionary as those fictional antiheroes were, the title just as well describes their brilliant, gnomic, sometimes cruel creators, like David Chase (“The Sopranos”), David Simon (“The Wire”) and Matthew Weiner (“Mad Men”).“Difficult Men,” whose 10th-anniversary edition was published in paperback this summer, is a history of the remarkable moment, starting nearly 25 years ago, when business imperatives and risk-taking executives empowered ornery writers with network experience and chips on their shoulders to create era-defining, artistically lasting programs.One of the book’s through lines was that these shows tended to revolve around men who resembled the way their creators saw themselves: as mavericks taking arms against bureaucratic inertia. It’s a theme that Martin, a New Orleans-based journalist, said he might de-emphasize today in favor of delving into the depth and richness of the characters.“The artistic triumph the original shows allowed,” Martin said earlier this month, “was to create all these real human stories and specific, idiosyncratic characters — which is more important than the easy antihero formulation.”The past decade has seen a societal reckoning with misconduct in the culture industries, including television. Some of the showrunner behavior Martin chronicled in his book — icing out disfavored writers, halting entire productions for petty personal whims, throwing tantrums — looks different now.In a new preface for the anniversary edition, Martin says that were he writing “Difficult Men” now, he would focus more on “the knotty question of how the same men who provided, in many ways, the most astute critiques of toxic male power that mainstream culture had ever seen could nevertheless end up confirming and recapitulating precisely the same dynamics in their own workplaces.”A 10th anniversary edition of “Difficult Men” was released this summer.Even in 2013, Martin held up counterexamples like the showrunners Alan Ball (“Six Feet Under”) and Vince Gilligan (“Breaking Bad”), who ran artistically successful programs while being, by all accounts, nice guys and good bosses.In other respects, 2013 turned out to be a convenient year for a book about this Golden Age of television. It was the year “Breaking Bad” ended and James Gandolfini, the “Sopranos” star, died. And it was the year that “House of Cards,” the first original series commissioned by Netflix, debuted. In a phone interview, Martin discussed why the shows he wrote about still hold up and how the emergence of streaming has affected prestige TV. These are edited excerpts from the conversation.Was there one show that provoked you to write the book?It was “The Sopranos,” in both an abstract and a literal sense. I had been hired to write the official coffee table companion during the final season. I maybe outstayed my welcome, treated it like a real reporting job, was there for quite a long time and got a chance to peek behind the scenes. It was a revelation to me: the size of the operation, the ambition, the way people talked about their work — the sense of something very big being made. The number of times I had to explain what a showrunner was back then is, in and of itself, an indicator of what an alien world that was.It’s such a funny term.It just occurs to me what kind of a technical term “showrunner” is, how unromantic. It really is something that, like, the Teamsters would come up with. It’s so literal and so nonartistic: You keep things running. The term betrays the kind of factory mentality that applied to television at the time.Did you think of yourself as establishing a canon?It was very obvious what at least three of the four main shows that I was going to write about were, and most of the peripheral ones as well. In my original proposal, the fourth show was, actually, “Rescue Me” — which is a show whose first few seasons had been perhaps unfairly forgotten but felt very much in keeping with these other shows. It felt extremely daring in being one of the first shows where 9/11 was being treated in a fully rounded way. My first editor pushed me to include “Battlestar Galactica,” but it just really wasn’t my bag. And then “Breaking Bad” asserted itself as the book was being written and became very obviously the ending place. There were the other HBO shows, and “The Shield” was an important step as well, but there weren’t many examples I left out.Have any of the shows in the book not stood up as much as you expected?Quite the opposite: The shows you think might have been dated have proven riveting in ways they maybe weren’t even when they were on. The America of Tony Soprano, the America of Walter White and very much the America of “The Wire” has proved itself to be the dominant America in the past 20 years. “The Sopranos” became this huge pandemic rewatch, and I think it’s because it’s so recognizable: The themes — the rot at the center of America, the grift of American life, the anxiety Tony Soprano has — are all super familiar to us now.Younger generations have adopted “The Sopranos”; it appears in countless memes.It’s great entertainment. It had to be: It had to resemble entertaining network television in many ways. It was still operating as a Trojan horse. It had to be funny and human, and it had to be consumable because the high-art part, the ambition part, was something nobody was looking for.How did the men you wrote about respond to your book?I never heard a word from any of them except for Vince Gilligan, who wrote me a beautiful blurb on the back of the new edition. Not surprisingly, because the book ends making the point that one doesn’t have to be that difficult to create these wonderful shows.Few would be interested in defending some of the behavior you document. But does the fact that it happened during the creation of these really great series make any of it easier to accept?It’s hard for me to see how a lack of empathy for people who work for you is a necessary part of the creative process. I do think people’s feelings could get hurt in a very intense workplace, and I don’t think every hurt feeling is avoidable. But I do think one can maintain a basic level of decency — let alone avoid using your power destructively — and still create quality work. I believe it because I’ve seen the shows that prove it, and because I’m optimistic.There are women characters and characters of color in these shows, but the protagonists and the creators behind them are all white men. Does that taint the legacy of that era?It wasn’t a huge surprise that white men writing about white men dominated the first phase of this new world. But the door had been opened. “Orange Is the New Black” came out something like three weeks after my book. “Transparent” was soon after as well. What came after delivered on the promise, which is that all these other kinds of stories were going to be able to be told, and all these other kinds of voices were going to be empowered. “Atlanta” and “Reservation Dogs” are other deliveries on that promise.What effect did the rise of streaming platforms, with their hundreds of millions of subscribers, have on Hollywood’s appetite for ambitious TV?When the book was published, it was more important [to the producers of these early prestige series] to stand out and find the right kinds of viewers than to have the most. It made sense that that attitude moved from subscription cable to basic — in my book, it’s HBO to FX and AMC — and streaming seemed it would be another step in that. But it does seem as though every piece that I identified as being crucial to the invention of this new TV is now a flashpoint in the writers’ strike: shorter seasons, writer-producers, writers’ rooms. And it’s depressing. With all the stuff that looked great, the streamers saw there were opportunities for cost savings.Are there ways streaming made TV better for viewers?Oh, my God. Look how much work we got! So much that I can’t keep up — that I feel a constant sense of anxiety about missing things. Look how many new voices we got. That’s been the trade-off. More

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      What’s on TV This Week: ‘American Horror Story’ and Global Citizens Festival

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      Kim Kardashian takes on an acting role in this anthology series. Lauryn Hill and others are set to perform at the annual festival.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Sept. 18-24. Details and times are subject to change.MondayACADEMY OF COUNTRY MUSIC HONORS 8 p.m. on Fox. Grab your cowboy boots, fiddle and Tennessee whiskey because things are getting a little country on Fox this week. The awards were hosted by Carly Pearce and held live from Ryman Auditorium in Nashville in August. Now, that show is being is available for everyone to watch. Lady A, Keith Urban and many more performed as Mary Chapin Carpenter, Tim McGraw, Chris Stapleton received honors.João Franco, left, and Harry Van Vliet on “Below Deck: Down Under.”Mark Rogers/BravoBELOW DECK: DOWN UNDER 8 p.m. on Bravo. Though this is only the second season of this “Below Deck” spinoff, it might become one of the most unforgettable. Midway through the season the boatswain Luke Jones and the second steward Laura Bileskalne were fired because, in separate incidents, each got into the bed of another crew member who didn’t or couldn’t consent, all while cameras were rolling. Captain Jason Chambers, the chief stew Aesha Scott and producers have been praised by some for their quick handling of the situation. Others criticized the series for the lack of a trigger warning.TuesdayBECOMING FRIDA KAHLO: THE MAKING AND BREAKING 9 p.m. on PBS (check local listings). The Mexican painter Frida Kahlo is known for lots of things: her arresting self portraits, her multiple marriages to the artist Diego Rivera and her medical struggles, just to name a few. This three-part documentary series focuses on the personal and political events that shaped her into the artist she became.ROCK THE BELLS 11 p.m. on MTV. Right on the heels of the hip-hop medley at the VMAs last week, MTV is airing a special as another celebration of 50 years of hip-hop. With footage taken from the Rock the Bells Festival on Aug. 5 in Forest Hills Stadium in Queens, N.Y., this one-hour special features performances by Queen Latifah, LL Cool J, Run-D.M.C., Salt-N-Pepa and many more.WednesdayAMERICAN HORROR STORY: DELICATE 10 p.m. on FX. Kim Kardashian is a queen of the small screen, but this time she isn’t arguing with her sisters or hanging out with her kids. In one of her few acting gigs — best to forget “Disaster Movie,” but I will give her props for “PAW Patrol: The Movie” — she is playing an actress past her prime opposite Emma Roberts and Matt Czuchry, a couple who are trying to conceive. The story is based on the novel “Delicate Condition” by Danielle Valentine.ThursdayALL STAR SHORE 9 p.m. on MTV. If I knew that Vinny Guadagnino (of “Jersey Shore” fame) headed to Colombia to be on the second season of this reality show, maybe I would have planned my vacation this year a little differently. The premise: 12 reality stars go head-to-head in your favorite party games to try to win $150,000. The cherry on top for me? Vinny’s “Jersey Shore” co-star Nicole “Snooki” Polizzi narrates.From left: Alex Denny, Adario Mercadante, Eric Andre, Gabourey Sidibe and Johnny Knoxville on “The Prank Panel.”ABC/Christopher WillardTHE PRANK PANEL 9 p.m. on ABC. As a self-proclaimed prankster (much to the dismay of my loved ones), I could learn a thing or two from this show. Johnny Knoxville, Eric André and Gabourey Sidibe act as “pranxperts,” who help people with the planning and execution of their pranks on their friends, families or co-workers. The first season is wrapping up this week.FridayDEADLOCKED: HOW AMERICA SHAPED THE SUPREME COURT 8 p.m. on Showtime. Each of the four episodes in this documentary series focuses on a Supreme Court case that shaped the American political landscape in the U.S., starting with Brown v. Board of Education, the 1954 ruling that made racial segregation in public schools unconstitutional.SaturdaySam Jay in her special “Salute Me or Shoot Me.”via HBOSAM JAY: SALUTE ME OR SHOOT ME 10 p.m. on HBO. Sam Jay, the former “Saturday Night Live” writer and co-creator/star of “Pause,” is using her comedy special to talk about the stress of long-term relationships, examine the inner workings of society and of course bring the laughs.SundayGLOBAL CITIZENS FESTIVAL 2023 4 p.m. on ABC. Broadcasting live from Central Park in New York City, this annual festival is back with the Red Hot Chili Peppers, Anitta, Sofia Carson and Lauryn Hill performing to call for an end to extreme poverty. Bill Nye, Carmelo Anthony, Rachel Brosnahan, Sophia Bush and many other celebrities will also be in attendance.REBEL WITHOUT A CAUSE (1955) 10:30 p.m. on TCM. In his most famous role, and one of the most well-known coming-of-age stories, James Dean plays a troubled teenager whose clean slate in a new town is quickly tainted after he starts crushing on the girl with a violent boyfriend. A drag race ensues. More

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      Drew Barrymore Pauses Show’s Return Until End of Strike

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      Taping began on her talk show last week, but at the 11th hour Barrymore changed course, and at least two other daytime programs followed.After an onslaught of criticism over her decision to return her show to the air while Hollywood is on strike, Drew Barrymore reversed herself on Sunday and at least two other shows did the same.Barrymore announced her change of course in an Instagram post, just a day before her talk show was to begin broadcasting. Taping resumed last Monday for the daytime program.After the announcement, “The Jennifer Hudson Show,” which is produced by Warner Bros., and the CBS show “The Talk,” rolled back previously announced plans to start broadcasting new episodes on Monday. CBS said in a statement on Sunday regarding “The Talk,” that it would pause its season premiere and “evaluate plans for a new launch date.”The return of production for Barrymore’s show attracted picketers from the striking writers’ and actors’ unions, and on Friday, she defended her decision in an emotional Instagram video, saying, “This is bigger than me.”CBS Media Ventures, which produces “The Drew Barrymore Show,” echoed her resolution at that point, saying more than 150 jobs would be affected. The company noted that she would be using a fully ad-libbed format, without anyone replacing the production’s three striking writers.But on Friday night, she deleted the video, and on Sunday morning released a statement changing course. The syndicated program was to begin airing new episodes on Monday.“I have listened to everyone, and I am making the decision to pause the show’s premiere until the strike is over,” the statement said. “I have no words to express my deepest apologies to anyone I have hurt and, of course, to our incredible team who works on the show and has made it what it is today. We really tried to find our way forward. And I truly hope for a resolution for the entire industry very soon.”In a statement on Sunday, CBS Media said it supported her latest decision and understood “how complex and difficult this process has been for her.”Although Barrymore was not the only daytime talk show host to announce a return during the strikes, she has received the most criticism, perhaps in part because in May she decided to bow out of hosting the MTV Movie and TV Awards in solidarity with Writers Guild of America members.The daytime juggernaut “The View,” for example, has been airing new episodes filmed without its unionized writers.Bill Maher announced last week that his weekly show on HBO would be returning, defending his decision in a social media post, saying, “I’m not prepared to lose an entire year and see so many below-the-line people suffer so much.”Members of the Writers Guild have been on strike since May, and the Screen Actors Guild-American Federation of Television and Radio Artists began its strike in July.Barrymore herself is a member of SAG-AFTRA, but as a host she is covered by a separate agreement called the Network Code, making it technically permissible for her to present the show during the strike.Late-night shows have the same option, but thus far, many network hosts have decided not to take it. Instead, five of the big-name hosts — Stephen Colbert, Jimmy Fallon, Jimmy Kimmel, Seth Meyers and John Oliver — have started a podcast together, with proceeds going toward supporting their staffs.Returning amid the strikes may look even less appealing to other hosts after Barrymore’s ordeal. A day after her show resumed production, the National Book Foundation dropped her as the host of the National Books Awards.Her social media pages were filled with people urging her to walk back her decision to resume production, advice she heeded in less than a week. More